Page 62 - AC/E Digital Culture Annual Report 2016

62• The platform Phenicx,97 developed by the Concertgebouw Orchestra of Amsterdam together with several European research centres, makes it possible to analyse and establish parameters from data gleaned from a concert in order to o er an extended user experience: the structure of the work (even indicating when the audience should applaud according to usual rules), an accompanying programme that incorporates discussion on social media sites, and the possibility of listening to the orchestra’s instruments separately or of following the score while it is being played on stage.• A ective computing, developed by rms such as A ectiva,98 seeks to close the communication gap between people and machines by incorporating a new method of interaction, that which is provided by non-verbal language. It has a huge potential for enhancing the relationship between artist and audience, and between spectacle and spectator. Proof of this was the Pay per Laugh99 programme run by The Cyranos McCann at the Teatreneu.Emancipation, empowerment and participationWe started out speaking precisely of co-creation, the participation of audiences in artistic and creative processes. There is evidently a whole host of assessments, thoughts and ideas that underline the same point: the audience will cease to be what we have held it to be up until now.Our audience is increasingly mature, better informed, and keener than everto take part and interact. It processes, collaborates, produces versions, recreates, manipulates, ‘memes’...The audience is growing (and reproducing itself) in pace with the evolution of our hypermedia society. We can nd it anywhere and at any time (hooray for asynchrony!) because we can also nd the spectacle experience urbi et orbi.Our audience is increasingly mature, better informed, and keener than ever to take part and interact. It is involved in the artistic processes,it collaborates, produces versions, recreates, manipulates, ‘memes’ (if I may be permitted)... it becomes art and part, spectator and co-creator. It is even transformed into a patron or cofounder of the artistic project through crowdfunding formulas.Let’s not forget the theory of the ‘emancipated spectator’100 put forward by Jacques Rancière,101 which alludes more to the emancipation of the creator, who must banish beliefs that con ne him to the role of educator of ignorant masses. For the spectator possesses an active capacity for interpretation.• The aforementioned Kònic Thtr - Kòniclab is also responsible for a networked performance experience that makes possible direct interaction between audience and artists, as in the project Umbrales,102 in which 12 users are invited to take part from their homes via webcam.HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE · PEPE ZAPATA© Christian Bertrand / Shutterstock Viewing a Bioreactive ConcertSmart Culture: Impact of the Internet on Artistic Creation